Getting the right tone of voice

April 23rd, 2010

Over the last week I have started to post pieces from a social media handbook on this blog to gain feedback and advice. The latest is all about tone of voice. Please leave comments below:

Whether you are planning to write a blog, use Twitter or create content for YouTube, tone of voice is one of the most important tools that you will have to communicate.

Rather then imposing some kind of official tone of voice for your organisation on everyone who communicates with the public on your behalf, we would instead encourage you to think about talking to the public online in the same way that you would in your physical venue by being courteous, friendly and informative.

Social media websites differ from network to network. On Twitter it is best practice to identify the individual speaking on behalf of the organisation, as shown on the MoMA Twitter account below:

smaller_moma_whois

This is also the case with Flickr, where a ‘group admin’ is responsible for managing the museums group. Note the friendly tone used by the National Maritime Museum group admin:

smaller_Flickr_group_admin

Whilst Facebook is very much a person to person network, the ‘author(s)’ for the museum on Facebook tends to be a little more hidden than on Flickr and Twitter.

It is possible to note who is speaking on behalf of the museum on a Facebook page and it would be best practice to present the museum in this way, reinforcing the impression that the museum is a collection of passionate individuals, rather than a faceless institution.

YouTube gives us different opportunities to present the museum. The key is not to think of this as a broadcast medium, but as a way to speak to audiences directly through their computer screens. Wherever possible films should include members of staff speaking directly to the camera, communicating not only information but also the passion that your team have for the museum and your collections.

Blogs offer another platform for speaking to your audiences and whilst these will often sit within your own website, they should be approached with the same tone of voice as other social media platforms.

Whilst the museums website can have an organisational writing style, a blog gives you the opportunity to do something different, to reflect the many voices of those working for the museum, and to let them talk about subjects which they know in a enthusiastic and honest voice.

By crediting each blog piece with an author, your audiences will increasingly see you as a collection of passionate individuals and be encouraged to comment on and engage with the blog.

Let me know if you think I have missed anything.

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10 questions to ask yourself before jumping into Social Media?

April 20th, 2010

I am looking at a social media handbook, and I am thinking about what questions a member of staff in the museum should think about, when approaching social media:

  • What are you trying to achieve? What is your goal?
  • Who are you trying to reach?
  • What is the right social media platform to achieve your goal and reach your chosen audience?
  • Could you achieve this better within the museums website?
  • How much time and resources will this project take, and who will be responsible for ongoing maintenance?
  • How will you measure success?
  • How will you brand the content to ensure that it is credited as coming from the museum?
  • Does this fit with the overall goals of the organisation?
  • What will happen with the project long term?

You might notice that I actually only have nine questions here, what would you add to this for a tenth question, or eleventh, twelfth etc?

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Facebook drops ‘Become a Fan’

April 19th, 2010

like

Facebook is believed to be scrapping the ‘Become a fan’ button, and replacing it with a ‘like’ button.

A Facebook spokesperson said: “We’ve found that ‘Like’ is more global, easy to understand, and users are already comfortable and familiar with it, making the process of connecting with a Page more consistent with how they already interact with things on Facebook.

Personally I think this is a good thing for museums and galleries, I think that people will be more comfortable with ‘liking’ a museum, rather then being a fan.

What do you think about the change, will this get more ‘fans’ for museums?

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Twitter guidelines for museum staff

April 14th, 2010

This is meant to be a guideline for staff who wish to use Twitter to tweet on their own behalf (rather then the official museum account). I am not sure if I have gone overboard, would this just scare anyone off using Twitter, rather then giving them guidance.

Please let me know if I have missed anything?

Twitter guidelines for museum staff
One of the defining features of Twitter is that it is very much a person to person network, and this holds both dangers and benefits for an organisation like a museum.
To project the right image for the museum it is important to consider how you use Twitter, for example it could reflect badly on the organisation if someone who identified themselves as a member of staff made political remarks, talked about ‘going out to get wrecked’ or used inappropriate language amongst tweets that referenced their work.

Whilst we would like to see people from across the organisation use twitter to engage with the public and to talk about the work that they do, we would suggest that this needs to be done as a member of staff and as such you should consider having separate personal and professional Twitter accounts.

If you do set up a Twitter account for professional use, then it is important to identify yourself as working for the museum to avoid any confusion about your point of view. For example, it could seem dishonest to the community on Twitter if you posted comments about how good a new exhibition looked without identifying yourself as a member of staff.

The easiest way to show your link to the museum is to mention this in your profile.

What should I write about?
Your starting point should be to listen to what others are talking about on Twitter and to think about how you can best contribute to the conversations which are taking place on the social network.

Twitter is an eco-system of thousands of niche conversations and as a museum we are perfectly positioned to benefit from this by engaging with people who have a passion for the subjects we cover.

Use the Twitter search facility to find these interesting conversations and follow and engage with individuals who are saying interesting things.

As well as listening and responding to others, you will want to write about your own work within the museum. Museums are fascinating places and you will find that a lot of people are interested in what goes on behind the scenes; just be careful not to announce anything confidential before it is in the public domain.

As well as writing tweets, you may also find Twitpic.com a useful service. This allows you to share pictures on Twitter and with such visual collections, this can really add something special to your tweets.

Responding to the public

Twitter is a person to person network, and your part of using this social media platform is speaking to the public. They might reply to something that you write on Twitter or could ask you a question.

It is important to reply to these messages in the same friendly and informative manor that you would if they came up to you in the museum.

If somebody has a criticism about an exhibition or the museum in general, inform them that you appreciate their comment and have passed this along to the relevant person in the museum, and then forward the comment to ——— so that they can deal with it in line with our complaints procedure.

Tone of Voice
Getting the right tone of voice for your tweets is essential when joining Twitter, this website has a large and passionate userbase and anyone stumbling in to this space and posting in an inappropriate way will quickly be ridiculed.

Twitter has a friendly and informal style. This is a person to person network and you should write your tweets to suit this, rather then posting anything that sounds to ‘corporate’ or ‘PR’ like.

Looking at how more experienced users are writing tweets on the website is often a good way to learn what works and what seems inappropriate.

Retweeting
One of the most popular features of Twitter is the retweet, this is essentially forwarding a message that someone else has written to your followers. When selecting something to retweet, consider how appropriate it is for someone who is linked with the museum to be associated with the original tweet and whether it may appear to be an endorsement of third party content.

You may wish to consider adding your own comment to anything that you choose to retweet, making it clear why you are forwarding it.

Following people
While it is best practice to follow those who choose to follow you on Twitter back, it is important that you look at the profile of each person you are considering following and consider whether it is appropriate for the museum to have a link with this individual.

Once you have started to follow an individual, you should keen reviewing what they are posting to Twitter and stop following them if you think that their tweets are inappropriate.

Abandoning Twitter
Once you have made a commitment to use Twitter, you should try and tweet at least once a day. In reality you’ll probably find it quite addictive.

If you find that Twitter isn’t for you, then consider handing over your account to a colleague rather then abandoning it, this is also the best course of action if you are leaving the museum.

If you can not find an appropriate person to take over from you, then you should delete your account, rather then leaving an abandoned account online.

When it is okay to pretend to be someone else
Whilst transparency and honesty are key to the way that we should act on social networks, there is one exception to the rule.

Some museums have made good use of Twitter to bring historic figures back from the dead, and to write tweets as either a famous person or a fictional character in order to educate the public about a certain period of time or an event from history.

This kind of activity can be very effective, but needs to be well planned with consideration given to how you could respond to the public if they ask questions, or try and engage this person in conversation.

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Death of advertising?

March 30th, 2010

BILLBOARD

I attended a conference a few weeks ago, where one of the speakers spoke about the death of advertising and the rise of social media and the idea that Twitter and Facebook could replace conventional media worried me.

Anyone who reads this blog will know that I am a big fan of social media, I see this as an essential tool for a museum, not only for marketing, but for the organisation as a whole to achieve it’s aims.

However strongly I believe in social media, I do not believe that Facebook and Twitter are a replacement for offline marketing. Let’s be honest, my research has shown that the vast majority of museums have less then 500 followers on Twitter (I’ve not done the same level of research on Facebook) and the numbers just do not add up.

Even a venue like MoMA who have tens of thousands of Twitter followers and hundreds of thousands of Facebook fans has offline marketing.

In my view, social media is not the death of advertising, but I’d be interested to hear what you think.

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Twitter for Museums

March 19th, 2010

This is an article which I wrote for latest issue of Museum ID magazine about Twitter for Museums, it hopefully acts as a good introduction for anyone thinking of using the social network for a museum or gallery.

Twitter

The big internet success story of 2009 was undoubtedly Twitter, the ‘micro-blogging’ platform which, with the help of celebrity endorsements, grew from an estimated 6 million users to 18 million users in just 12 months, and which is predicted to rise to 26 million in the coming year.

The growth and success of the website didn’t escape the attention of museums, and by the start of 2010 over 1000 institutions in 34 countries had joined Twitter, attracted by a potentially large audience and an easy-to-use, free platform.

So what is Twitter?

Twitter is a ‘micro-blogging’ platform; a website where people share what they are doing or what they’ve found with others by sending and receiving messages known as tweets.

What defines Twitter is the short format of these tweets, each message is limited to just 140 characters of text, making it quick and easy to update.

These messages are sent and received through the website Twitter.com or through third party applications which bring these messages or tweets on to a computer’s desktop or a mobile phone.

As well as tweeting a message, you can also retweet or forward a message which someone else has written to your followers. If you write engaging, informative and entertaining messages on Twitter, you should find that people retweet what you are writing too.

While tweets and retweets are public and anyone can read these, direct messages are private and can only be read by those who you send them to. However the person you wish to direct message must follow you, for you to have permission to send them a direct message.

How is Twitter useful to museums?

Most museums are attracted to Twitter as a marketing tool; it can act as a modern day mailing list, allowing a museum to quickly broadcast information to a large number of people who have opted to hear more about your museum.

However once a museum joins Twitter it will quickly realise that the website is more about community, and using it to only broadcast advertising messages will quickly turn people off. Instead a museum can speak with those who choose to follow them, to entertain, engage and inform Twitter users with a behind-the-scenes and up-to-the-minute account of your institution. This can build a loyal following; a kind of museum membership for the 21st century.

Twitter is also a great way to share information with your followers; the majority of tweets feature links and by linking to content on other websites, you can advance your museum’s educational aims through the web.
How to get started with Twitter
I would recommend anyone thinking about setting up a Twitter account for their museum first joins the website as an individual. This will allow you to get to grips with how Twitter works and learn from museums who are already tweeting.

It is easy to find museums through the search facility on Twitter. You can follow as many institutions as you like and you don’t need to confine yourself to any one country. MoMA (their Twitter name is @MuseumModernArt) is seen as the leading institution on the website and they are a great Twitter account to follow and to learn from.

One thing which you will learn from MoMA is that even though this is a large and prestigious museum, they identify the person who writes on behalf of the institution and allow the tweets that they write to have personality.

With only 140 characters of text to work with, tone of voice is incredibly important on Twitter and your museum will need to become comfortable with writing in a more down-to-earth, snappy style.

This research period is also a great time to look for people speaking about your museum, because even if you are not writing about your museum on Twitter, the chances are that your visitors are. You can use the search tools on Twitter or an external site such as SocialMention.

Get those around you involved in thinking about how Twitter could fit with your organisation and start to map out some ideas about how you could launch and manage a Twitter account for your museum.

The activities that you’ll need to think about are:

Listening – every day you should do a search on your museum name and look at what people are saying about your institution – are they asking a question which you can help them to answer?

Broadcasting – you should broadcast two or three tweets a day. I recommend that you plan the majority of these out in advance with themes like Museum Fact Monday, Guess the object of the day, Behind the scenes pictures of an exhibition being built or links to video of an event on YouTube. Asking questions is another great way to encourage your followers to engage with your museum – if you’re wondering what a particular audience group would like from you, why not ask them?

Replying – you should set aside some time every day to reply to messages on Twitter. You should also discuss with your colleagues issues such as how you will respond to negative feedback. Most museums have guidelines for dealing with complaints offline and these just need to be revisited to consider how they can work on Twitter.

Don’t let the thought of negative feedback put you off joining Twitter, though, the chances are that people would make the same negative remark if you were not on the website and having a presence there will allow you to change opinions and learn from your mistakes. When you look at the Twitter feed for other museums, you’ll see that there is usually a very positive, sharing vibe since their Twitter followers are some of their biggest fans.

When you feel that you have a good grasp of how the website works from your experience with a personal account, and you have thought about how you will manage Twitter day-to-day then you are ready to set up an account for your museum.

Attracting followers
Unless you set up a feed to your website or Facebook page, the only people who will see what you write on Twitter will be those who choose to subscribe or follow your museum’s tweets, so it is important to keep attracting new followers.

The easiest way to get started is to add a Twitter logo to your museum website and to spread the word virally to staff and through them to their friends. You may also want to add your Twitter name to leaflets and to promote it in the museum.

With your editorial plan in place, you will have lots of interesting content to share and your followers should hopefully retweet this to their own network of followers and start to virally spread the word about your museum.

You can also try offering incentives like a prize draw for tickets to a new exhibition, or reward your 1000th follower with free merchandise from your shop.

What next?
Twitter is predicted to grow over the next twelve months, but it has also spawned something of a cultural shift with more and more people sharing their experiences in real time.

In late 2009 Google started to index these real time live casts in its searches and now it is becoming more likely that the first result that someone finds when they search for your museum will be a review from someone who has just visited your venue, rather than your official website.

In terms of the opportunities for sharing, casting, connecting, surveying, broadcasting and reaching your audience, the Twitter possibilities are endless.

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The future of museum funding?

March 17th, 2010

kickstarter

Kickstarter is an interesting new website where crowdsourcing meets fundraising, you will find films, comics and arts projects all asking strangers to help make projects happen by donating money towards the project.

Each project is given space on Kickstarter to give a pitch, explaining the aims, financial goals and what is in it for the person donating (limited edition print etc). The website seems to be doing a great job of linking projects with generous individuals and a quick flick through Kickstarter shows large sums of money have been donated (if a project doesn’t reach it’s fundraising goal within a limited timeframe then the money is returned to the people who donated it).

At the AMA Museum & Galleries Day which I attended yesterday, everybody was talking about the funding cuts which are going to hit the cultural sector in the UK (though the funding crunch is an international problem for museums) and I wondered if the Kickstarter model is one way of making the museum more sustainable and more relevant to it’s audiences.

Could a museum invite members of the public to propose exhibitions to be held within a gallery space over a set space of time and then ask people to vote with their money for the exhibition which they would like to see. The money would be like an advance ticket purchase with even those who pledge just £1 receiving a free ticket to visit the show.

I don’t know, perhaps it is crass and the public should not be able to buy an exhibition, but looking at Kickstarter, I think the result could be really interesting.

I’d love to hear what you think!

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Growth in the mobile web

March 15th, 2010

I have been talking a lot recently about the growth in the mobile internet and the opportunities that this offers cultural institutions. This week I came across two more facts to back up the rise of the smartphone as a platform which we need to give serious thought to.

Outnumbered?

Smartphone

An article on Bloomberg this week highlighted a report from Gartner Inc. which forecasts that smartphone sales will triple from 139.3 million worldwide in 2008 to 491.9 million by 2012, over the same period the PC market will expand from 290 million unites to 443.1 million.

The will mean that more people will have access to the internet via a smart phone then a desktop PC, and I think this will be especially significant for cultural venues who will be able to deliver information on the move to their audiences.

Social Mobile
New research
released at the start of March shows that more then 30% of smart phone users (11.1 percent of all mobile phone) in North America accessed Facebook or Twitter on their mobiles.

While 30% of 11.1% might not seem like a significant number, the rise in usage over the past 12 months is impressive with access to Facebook growing 112% and access to Twitter jumping 347%.

A Facebook and Twitter presence obviously offer museums and galleries one route to smart phone users.

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Remixing the museum audio tour

March 10th, 2010

Regular Museum Marketing reader Gustavo Macedo Pérez in Mexico was kind enough to drop me a line this week with a few projects which I really love.

ArtMobs remixes MoMA
ArtMobs is a few years old, but I think it was a little ahead of it’s time. It asked members of the public to create audio guides to artworks in MoMA and share these through the ArtMobs website. Though not created by professional curators, these amateur guides give a different perspective on art.

The project which ran in 2004 – 2005 seems to have produced just 10 guides, so perhaps others didn’t share my enthusiasm for the idea of creating alternative audio guides, but I guess while it is easy for me to say I like the idea, would I really record a guide myself?

I know that N8 in The Netherlands tried a similar project and found that creating audio commentaries was a lot to ask of visitors.

Overated?
Slate Magazine produced it’s own audio guide under the headline ‘The commentary museums don’t want you to hear’ in which it’s art critic guided visitors around MoMA and the Metropolitan museum of Art.

This unofficial audio tour looked at the most overrated and underrated pictures on display, giving another alternative (and an intriguing) view of the collections of these great art museums.

Going Mobile
With the growth in mobile technology, perhaps now is the time for a platform which allows visitors to share audio commentaries through the web rather then podcasts, so a visitor could instantly access a choice of audio guides on the go.

I’d be interested to hear about any other Audio Tour projects which you are aware of, and whether you think the public could be bothered to create something worthwhile.

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To App or not to App

March 9th, 2010

question

iPhone applications seem to have a tremendous buzz around them at the minute, and in the first two months of 2010 my company has had a lot of requests from cultural organisations to create Apps for museums, festivals and heritage sites.

I think it has come as a surprise to many of these organisations when I have told them that they should think again. While there are an estimated 2.5 million iPhones in the UK, this is only accounts for about 10% of the smart phone market and it is better value for a cultural organisation to look at creating mobile friendly web content, then a more expensive application which only a minority of their audiences can access.

I think this is especially true of museums and galleries, where organisations have a real responsibility to make their content accessible to as many people as possible.

In the UK 53% of the mobile phones have built in internet access and this now accounts for over 3% of web traffic. Museums and galleries who I spoke to have experienced a large rise in the amount of traffic coming from mobile phones with some receiving over thousands of web visitors every month from mobile devices.

To me, it seems like better value to put resources in to creating website which will work for all smart phones, rather then an App which will only work on an iPhone.

A recent blog post from Ted Forbes at Dallas Museum of Art highlighted this, his museum chose to create a ‘smARTphone Tour’ which would guide visitors around their collection rather then develop an iPhone App.

Ted writes ‘I was completely blown away when I got to the museum to see people on all kinds of phones not only curiously checking out the web app, but also in the exhibit taking it all in!’

To make the ‘smARTphone Tour’ even more accessible, Dallas Museum of Art also had iPod touches available for visitors to use in the gallery, these can access the internet via a wifi network, making the web based tour accessible to these users as well.

With 16 months being the average time that a person keeps a mobile phone, we can expect the number of smartphones to keep rising over the next year.

As we start to roll out mobile friendly websites for museums and galleries, I am really interested to see high the number of visitors browsing these websites from smart phones rises.

Will we have over 10% of website visitors coming from mobile phones by the end of 2010, or will more accessible websites push this even higher?

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